I love to create triptychs. Over the last few years I’ve been investigating and experimenting with this fascinating genre and discovered there are numerous possibilities for arranging and assembling your panels.

In this article I thought I’d share some of the options available and the different types of ‘cuts’ you can use. I hope you’ll also get a feeling for how I go about deciding on my triptych cut and what influences my choice.

Just to clarify, when I use the term ‘cut’ in this context, I don’t mean cutting, cropping or dividing a single image into three sections. What I’m referring to is the nature or orientation of the divisions between the panels and how the panels are arranged to make a single visual unit.

Triptych Cut Options

Deciding how to arrange and position your triptych panels can be a bit of an art form in itself. Maintaining a sensitivity to the look and feel you want to achieve is extremely important as the divisions in the triptych are an integral part in how we ‘read’ the final image and put it all together in our mind.

Most people, when they imagine a triptych layout, will probably visualise a ‘vertical cut’ where the three triptych panels are separated by vertical divisions.

There is perhaps, historical precedence for this with the hinged altarpieces found in Churches dating back many centuries. These triptychs, which usually depicted religious scenes, were composed of a larger central panel flanked by two narrower panels which could be folded over to enclose the central piece.

But a vertical cut or layout is only one of many possibilities.

So let’s take a closer look at some examples of the various triptych cut options and the reasons behind why I chose them. I’ll begin by introducing the vertical cut before moving onto less ‘traditional’ approaches!

Vertical Triptych Cut

To create ‘Deus Ex Machina’ I divided a single image into three and chose a long vertical cut to individually highlight and emphasise the surreal ‘faces’ contained within the original image. You can find out more about how I created this triptych in its ‘Exposed’ article.

Deus Ex Machina

For ‘Electric Pagoda’, a vertical cut was the natural choice as I wanted to build the tall, mysterious, golden structure.

Electric Pagoda

Horizontal Triptych Cut

For the horizontal triptych cut, the three panels are, not surprisingly, separated by horizontal divisions.

‘Spillway’ is a good example. Here, I’ve used the horizontal cut to construct and emphasise the idea of liquid descending down a series of ridges.

Spillway

In ‘Ingrained’ the contrasting blocks of colour are counterbalanced as we read left to right. The weightier purples at the top and bottom of the triptych help to contain our eyes and direct us to the central panel with its lighter, swirling patterns.

Ingrained

The ‘T’ Triptych Cut

Another option for laying out your triptych panels is to use a ‘T’ cut where the panels intersect at a ‘T’ type junction. With this configuration, often the central point of interest is where the ‘T’ junction occurs.

We can see this in ‘Mystique’ where the mirroring effects converge and form the amorphous red cross. I’ve found the ‘T’ cut format very useful if you want to highlight a symmetrical type construction.

Mystique

‘Back in the Fold’ uses a similar technique to help direct our attention towards the middle of the image where the green and black lines align.

Back in the Fold

And why not have the ‘T’ junction on its side?

‘Cascade’ is designed to have the coloured ‘steps’ play off each other and give the feeling of cascading descent. The orientation of the ‘T’ not only serves to construct these steps but also elongate the image.

Cascade

Building Blocks Triptych Layout

Now we come to what I call the ‘Building Block’ construction where one panel sits on top of the other two, in the same way a child would stack toy blocks on top of each other. For this format, I usually use square panels. In a sense, the Building Block layout is really a variation of the ‘T’ Cut, but I think it’s sufficiently different in appearance that I’ve created a separate category. The beauty of the Building Blocks is that you’re working with more of a triangular or ‘pyramid’ conception rather than a rectangular mindset and this can lead to some very different approaches to composition.

‘Tri-corner’ plays with very basic geometric shapes, block colours and perspective. The ‘flow’ of the image moves up towards the green peak in the top panel.

Tri-Corner

‘Crossing Over’ also creates a sense of depth with the overlapping plastic sheets. The top panel serves to emphasise and expand the idea of line and length presented in the panels underneath.

Crossing Over

I’ve found these Building Block triptychs quite challenging to produce. Having the top panel align with both panels on the bottom using some form of connecting shape, pattern, line or colour can be rather difficult, but I’ve certainly enjoyed trying something new.

Diagonal Alignment

Now, you don’t always have to have your panels aligning exactly – there’s no reason why you can’t place them on a diagonal if you feel the composition warrants it.

In ‘Lining Up’, the ‘staggered’ diagonal placement of the panels coincides with the diagonal content of the subject matter.

Lining Up

Diagonal Triptych Cut

For something a little different, you could always try a diagonal cut. I must confess, this is not something I do a lot of as I tend to prefer the cleaner 90 degree edges around the panels. But you can certainly have fun experimenting and don’t discount it as an option if you think your image warrants it.

The diagonal cuts in ‘Peak’ follow the natural divisions within the image itself.

Peak

And for a little more fun, I’ve re-imagined ‘Peak’ into ‘Triumvirate’, still playing with the triangular cut.

Triumvirate

Freestyle Format – Do whatever you like!

Finally, you can really do whatever you want – don’t get hung up with rules.

In ‘Disconnect’, I really just arbitrarily chopped up the original image, effectively elongating the blue paper clip, and put the panels down in a ‘freestyle’ kind of way, although still being mindful of having the content within each panel lining up. I guess this is really a combination of a horizontal cut and diagonal placement.

Disconnect

Have Fun Experimenting!

So the next time you’re experimenting with creating a triptych, take time to step back and consider some alternative layout options. Each cut brings with it its own unique considerations and challenges, and not all cuts will suit the image or images you’re working with, but keep an open mind and you might just be surprised at what you can create!

If this article has whet your appetite for triptychs and you’d like to learn a little more about how to make them, please read my other articles The Art of Creating a Triptych, How to Make a Triptych and The different types of Triptychs for more ideas.Jane Trotter is an abstract photographer living in Dunedin, New Zealand. Reimagining everyday objects found around the home, Jane transforms them into colourful and dramatic pieces of contemporary art. Her Fine Art Prints are available in sizes A4 to A1.

Ever tried creating a triptych? Have no idea what to do and what things to look for when you’re putting it all together? This article will explore how to make a triptych and set you up on the right track with some useful tips and advice on composition, structure and design.

The whole is greater than the sum of its parts

You’ve probably heard this phrase when it comes to talking about triptychs, or indeed, any multi-panel work. But what does it actually mean and what do you need to do?

Deus Ex Machina

Your goal is to create three individual panels which work well together and visually complement each other. Most importantly, the overall impression and impact on the viewer is greater when the three pieces are viewed together in their entirety, and visually processed as a single entity. Essentially, the three images will have more meaning and context when seen together, rather than apart.

As with any single photograph, a triptych must still communicate something to the viewer and the way in which the three images relate to each other is extremely important. Panels which work in harmony, reinforce and expand upon shapes and patterns or thematic ideas, and which serve to unify an overall concept or vision provide compositional strength and coherence.

How to make a Triptych

Establishing a strong sense of unity and synchronicity across your three images is the most important element in how to make a triptych. So, let’s look at the different techniques you can employ to achieve this.

Handle your subject matter consistently

Consider your angle of view. Do you want this to be similar throughout or deliberately varied for each panel for a specific effect?

How close or far away are you from your subject matter? Ill-considered and inconsistently sized subjects across your panels may result in a disjointed look.

What depth of field are you using and will it be the same across all the panels? If you have a narrow depth of field in one panel and then markedly change it in another for no apparent reason, there will inevitably be a loss of cohesion.

Maintain visual coherency

Keep your colour palette consistent and unified.

Avoid strong, distracting colours where you don’t want them.

Be aware of where the lighter areas of the image are and avoid having bright sections on the extreme edges of your outer panels.

Astral Plane

The colours in ‘Astral Plane’ morph and merge into each other, giving depth and an ephemeral quality to the image.

Use shapes and patterns to establish visual connections

Use the shapes and patterns inherent in your subject to establish and form visual connections across the three panels.

Elements may be echoed in each individual panel or you may choose to work on a larger scale where the overarching ‘shape’ only becomes apparent when the three panels are viewed together.

Consider mirroring effects to provide a sense of symmetry and balance.

Keep the elements in each panel roughly the same size.

Over the Shoulder

In ‘Over the Shoulder’, the figure in the image is only revealed when the left and middle panels are viewed together. A second person is hinted at in the panel on the right. The overall design of this triptych is reliant upon an expansive view and interpretation of the individual components.

Exploit connecting lines

If you are using a single image for your triptych and positioning your panels in the order in which they appeared in the original image, these natural ‘cut points’ will provide a strong, visual connecting link.

Imagine a shot of a wave breaking on the beach. There’ll be a natural connecting line inherent in the wave formations which will then translate across into the triptych.

Splay of Colour

‘Splay of Colour’ uses a ‘T Cut’ to divide the image and the colourful, sweeping shapes and gestures connect naturally across all three panels.

Continuity of theme and subject

If you are telling a story in your triptych, try to maintain a consistent tone or ‘feel’ in your images. You want your narrative to unfold effortlessly, without confusing the viewer or leaving them with the overall impression that something didn’t quite jell.

For example, you have created a study of a flower. Each panel represents a stage in its growth and ultimate decay. If you have used a gentle, soft focus approach for the first two images of bud and bloom and then adopt a very stark and sharply focused portrayal of the bloom in decay for the final image, this inconsistency in presentation will tend to mar the overall effect.

The triptych as one visual experience

I believe you should be drawn into a triptych so much that your mind begins to process it as if it were a single image or one visual experience, and not three distinct components.

Perhaps a good question to ask yourself is – can the triptych withstand having a panel removed? Will it still possess the same, meaningful visual impact? Will it still be able to convey the same narrative? If the answer is no, chances are you’re on the right track. If it’s yes, then maybe you need to rethink your composition.

I thought I’d use my triptych ‘Interlaced’ (the image on the left below) to illustrate what I mean.

‘Interlaced’ triptych design

You can see the example in the middle just doesn’t have the same dynamic energy without the top panel. Those red diagonals are needed to help push you back into the composition. Without them, your eye tends to move right out of the middle panel and there’s no counterbalance.

The example on the right doesn’t have enough weight at the bottom to withstand the dominance of red in the top panel – the composition feels top heavy. It really needs the bottom panel to help redistribute the colours and establish a better equilibrium of line and colour.

If the whole concept of abstract photography is – well – just too abstract, then check out my article on the Definition of Abstract Photography for some extra clarification.Jane Trotter is an abstract photographer living in Dunedin, New Zealand. Reimagining everyday objects found around the home, Jane transforms them into colourful and dramatic pieces of contemporary art. Her Fine Art Prints are available in sizes A4 to A1.